Out There

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The Transcendent Life and Art of Burt Shonberg
Spencer Kansa

Out There
The Transcendent Life and Art of Burt Shonberg
Spencer Kansa
Format: Softcover / 256 pp / illustrated in colour
ISBN: 978-1-906958-79-4
£30/US$36
Subjects: Art/American Underground/Biography/Film Studies.

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From the late-1950s until his premature death in 1977, Burt Shonberg was one of the most highly admired artists in Los Angeles. During this period, his eye-popping murals graced the facades and interiors of popular coffeehouses and hip clubs on the Sunset Strip; his paintings adorned several notable rock album covers, and his haunting portraits featured prominently in Roger Corman’s film adaptations of Edgar Allan Poe’s The Fall of the House of Usher and The Premature Burial.

Born in 1933, Shonberg grew up in the all-American beach town of Revere, Massachusetts, where, according to his friends, he spent most of his time drawing and indulging in his love of monster movies. After graduating high school, he studied for two years at the Boston Museum of Fine Art, and then, after a brief spell in the army, he ventured to Los Angeles to pursue a career as a commercial artist.

Soon after he settled in L.A., Shonberg became the lover of the legendary occult artist Marjorie Cameron who turned him on to the teachings of the Edwardian magus Aleister Crowley and introduced him to the mind-warping properties of peyote. Shonberg also embraced the Fourth Way system of George Ivanovich Gurdjieff, and his canvases began to reflect the mystical illumination inspired by his higher states of consciousness.

In 1960, the artist was chosen by Dr. Oscar Janiger to participate in his groundbreaking study into the effects of LSD-25 on the creative process. Although Shonberg regarded himself as a magical realist, his remarkable renderings of his hallucinogenic visions led many of his acolytes to regard him as the preeminent psychedelic artist of the era, and in the words of his friend and fellow painter Walter Teller, “Burt was the artist of Laurel Canyon.”

Yet despite his popularity and status, Shonberg’s artistry has been criminally overlooked in all historical accounts of the Southern Californian art scene, until now. Out There redresses this injustice and brings some long overdue recognition to L.A.’s greatest lost artist, in a book illustrated with rare examples of his incandescent artwork.

“Spencer Kansa has time traveled. Knowing Burt as well as I did, it really does feel, from his assessments and descriptions, that Spencer actually knew him as well, and Burt for sure would have dug him. They would have had a good time. I can see Burt smiling. I’m serious.”
Hampton Fancher, screenwriter, Blade Runner and Blade Runner 2049.

Read Spencer Kansa interview about Burt Shonberg and Bohemian Los Angeles with the LA Review of Books
lareviewofbooks.org/article/burt-shonberg-and-bohemian-los-angeles-an-interview-with-spencer-kansa/

 

 

The Magical Universe of William S. Burroughs

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The Magical Universe of William S. Burroughs
Matthew Levi Stevens
Format: Softcover
ISBN: 978-1-906958-64-0
£15.00 / US$24.00
Subjects: Counter-Culture/Magic/Occult/Biography/American Underground.

Click HERE for The Magical Universe of William S. Burroughs / UK

Click HERE for The Magical Universe of William S. Burroughs / USA

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“In the magical universe there are no coincidences and there are no accidents. Nothing happens unless someone wills it to happen. The dogma of science is that the will cannot possibly affect external forces, and I think that’s just ridiculous. It’s as bad as the church. My viewpoint is the exact contrary of the scientific viewpoint. I believe that if you run into somebody in the street it’s for a reason. Among primitive people they say that if someone was bitten by a snake he was murdered. I believe that.”
– William S. Burroughs

Fully revised and expanded from the limited edition chapbook that first appeared in 2012, The Magical Universe of William S. Burroughs is the first ever in-depth consideration of the significance of Magic and the Occult in the Life & Work of the writer and counter-cultural icon.

In Literary Outlaw: The Life and Times of William S. Burroughs, his biographer Ted Morgan wrote:

‘As the single most important thing about Graham Greene was his viewpoint as a lapsed Catholic, the single most important thing about Burroughs was his belief in the magical universe. The same impulse that lead him to put out curses was, as he saw it, the source of his writing…’

‘To Burroughs behind everyday reality there was the reality of the spirit world, of psychic visitations, of curses, of possession and phantom beings…’

From the Introduction to The Magical Universe of William S. Burroughs:

In talking about The Magical Universe of William S. Burroughs I am really thinking of two things:

Firstly, and probably most obvious, is the material that appears in the output of Burroughs the Writer that can be seen as describing or referring to some magical, mystical or occult idea – Invocations of Elder Gods of Abominations, descriptions of Sex-Magick rituals, references to amulets, charms, ghosts, omens and spells – all the thematic set-dressing that we all know and love, from Hammer Horror Movies to Weird Tales, from H. P. Lovecraft to Dennis Wheatley and The X-Files…

Secondly, there is the personal interest and involvement of Burroughs the Man with belief systems and practices that come from those strange ‘Other’ territories that lay outside the bounds of either conventional mainstream religion or scientific materialism – explorations of L. Ron Hubbard’s Scientology, Konstanin Raudive’s Electronic Voice Phenomena, Wilhelm Reich’s Orgone Accumulator; also partaking of the Vine-of-the-Soul with Amazonian shamans, attending the Rites of Pan in the Rif Mountains outside Morocco, participating in a Sweat-Lodge with Native American Indian medicine men – and, latterly, an engagement with that most Post-Modern of Occultisms, Chaos Magic.

The material considered has been distilled from archival sources, correspondence, interviews, and of course, published works. As well as his own personal contact with Burroughs and his lifelong study of the Man and his Work, the author also draws from a wide range of former associates – collaborators, friends, lovers, and students – including C. J. Bradbury Robinson, Michael Butterworth, David Conway, Phil Hine, Graham Masterton, Malcolm Mc Neill, and others.

As well as his own contact with the likes of Genesis P-Orridge, John Balance & Peter Christopherson of Coil, and writer Terry Wilson, back in 1980s London, he has also had unprecedented access to the papers of Cabell McLean, a young writer who was William’s companion, lover & student, c.1976-1983.

Sometime in the nineteen-seventies, following a reprint of my book, Magic: An Occult Primer, a letter was forwarded to me by my then publisher. Poorly typed and in an envelope which, unless my memory deceives me, bore no postage stamp, it came from William S. Burroughs. I still have it somewhere. In it the writer made plain his interest in magic. In real magic that is, not the smoke and mirrors kind.

Given that Burroughs’ tireless ambition was to encounter a reality beyond that accessible to our five senses, with magic perceived as an effective means to that end, it is remarkable that the subject has hitherto received but scant attention.

This work, by Matthew Levi Stevens, who must have encountered Burroughs at around the time he wrote to me, sets out to make up for that deficit. In it he chronicles the man’s interest and examines the part magic and occultism generally played both in his life and in his work.

Stevens sets about the task with gusto, indicative of his respect and, indeed, affection for “Uncle Bill”, as well as his familiarity with the topic itself. He draws on Burroughs’ own writings, and on those of the growing number of people, supporters and critics alike, who have commented on him and his literary output.

It is a job well done. And one that is all the more welcome because long overdue . . .

– David Conway, 2014.